F 542 
.Y69 
Copy 1 



The 

ILLINI TRAIL 

A PAGEANT PLAY 

COMMEMORATING THE ILLINOIS CENTENNIAL 

WRITTEN FOR 

THE CENTENNIAL CELEBRATION 

BY 

CECILIA MARY YOUNG 



Copyright March 23, 1918. All right reserved. 

The pageant, or any separate part or scene in it, cannot be used 

without permission of the author. 



^^ 



CHICAGO, ILLINOIS 
PRESS OF J. T. COUNSELL, 2330 W . MADISON ST. 



FOREWORD 



In the pageant play there are 6 speaking parts for girls* and 14 
speaking parts for boys; there should also be 26 boys and one girl who 
can sing. The rest of the principal characters are vivid, strong por- 
trayals in pantomime or tableaux. (Note) The character of Madame 
La Comte is a sprightly, spirited characterization that must all be 
conveyed by quickness, lightness and expression, in pantomime. "Mme. 
La Comte. for she was so called throughout the Illinois Countv to the 
day of her death, was in every respect a typical French woman of 
the frontier. Among the Indians her influence was so remarkable as 
to be almost unique in border history. Xo ofl^cial in French authority 
ever wielded such power for good or ill over the savages of the Illinois 
as did this rosy-cheeked, black-eyed French woman. And she used 
this power to good account for the benefit of the settlements. She 
I>ved to the last a power along the border." (Randall Parrish.) 

The roles of Proclamation and History are parts similar to the 
classical Greek "Chorus", designed to explain and amplify the scenes 
and characters as the play proceeds. 

*The part of History may be divided among ditt-erent girls. History 
of Episode I. History of Episode II. etc.. making 9 additional speaking 
parts, or Id speaking parts for girls. 

Special Xotice: The narrative which is used for History is from 
he pen of the distinguished author, Randall Parrish. in ""Historic 
Illinois . and is used in the present pageant play with the full permis- 
sion of the author. Several of the songs are from The Laurel Song 
Book Series Compiled by AI. Terese Armitage, C. C. Birchard & Co 
illZ "^"^."^^^-^^ -1^°"^ ^1- --tesy for use in this production! 
together with Mr. Parnsh's generosity, the author expresses grateful 
appreciation. s ^ ui 

Acknowledgment is also due Mr. Joseph J. Thompson, editor-in- 
chief The Illinois Catholic Historical Review. 



The. 

ILLINI TRAIL 

A PAGEANT PLAY 

COMMEMORATING THE ILLINOIS CENTENNIAL 

WRITTEN FOR 

THE CENTENNIAL CELEBRATION 

BY 

CECILIA MARY YOUNG 



Copyright March 23, 1918. All right reserved. 

The pageant, or any separate part or scene in it, cannot be used 

without permission of the author. 



^!^ 



SECILIA MARY YOUNG 

§242 WINTHROP AVE. 

CHICAGO. ILLINOIS 



FS^ 



©CI,D 49654 

APR 29 1918 



/"W^ 



THE ILLINI TRAIL 



CAST OF CHARACTERS 
(In order of their appearance) 

(The speaking parts are indicated by stars*; singing parts by : ;the 
others are for characters in pantomime or tableaux.) 

EPISODE I— THE TRAIL OF THE WILDERNESS 

Illinois — a very tall boy in Indian Chief costume. 

*Proclamation — A boy dressed as a medieval herald. He carries a 
long trump-et. 

*History — A girl with a splendid voice, in flowing Grecian costume. 
She carries a scroll opened and held by two rods. 
Tdeality 
Conquest 
Adventure 
— Three allegorical figures in masque. 

Ideality— A tall boy dressed in the costume of a medieval knight. 
A veil hangs over his face on which sequins have been sewed to give a 
glittering effect. 

Conquest— A boy dressed in tights and doublet, wearing a large hat 

with drooping feathers, and a hideous mask, a jangling sword at his side. 

Adventure— A boy dressed as a pirate, a red stocking cap on his 

head, considerable paint and bristling mustaches emphasize the aspect 

of this character. 

• Indian Medicine Man. 

Three Indian Chiefs. 

Illinois Braves— About 20 large boys or as large a group as possible. 

Indian Scout. 

Marquette — ("A man of 36 years, smooth shaven, delicate of frame, 
his face thin and careworn, his eyes deeply sunken, his form enveloped 
in a shapeless black robe frayed and rusty from travel. At his girdle 
hangs a crucifix.") 

(From Randall Parrish's "Historic Illinois".) 

Joliet— ("Strong of build, dark of eye and beard, alert, with intelli- 
gent face and energetic gesture".) "(Parrish.) He wears buckskin 
clothes and a large hat. 

EPISODE II— EXPLORERS FIND THE ILLINI TRAIL 

*Louis 14th— King of France. Velvet small clothes, powdered wig. 
red-heeled shoes with buckles. A sm.all part but must be well played 
by a boy who can assume the proud, yet frivolous, trifling character of 
this monarch. 

*La Salle— A well built boy of dignified, earnest mood. Costume: 
Full velvet knee breeches, long vest and coat, boots, long flowing dark 
wig and mustache, gauntlet gloves. 

*Henri Tonty— Same costume as other. A slight i>oy of Italian type. 
Dark wig and dark mustache. He has an iron hand. The right hand 
can be drawn in sleeve and the iron hand attached. 

A courtier 

A Page 
^See costumes period Louis 14th. 

Father Ribourde— An old friar with white wig, 

3 



EPISODE III— A TABLEAU— BLAZING THE TRAIL FOR 
CIVILIZATION 

Missionaries — *8 boys dressed in black gowns of the Jesuits. 8 boys 
dressed in grey of Recollete friars. 

Four Hunters — Dressed in buckskin suits, raccoon hats, and animal 
skins hanging at belts. Carry muskets. 

Four Miners — Dressed in blouses and short trousers, carrying crude 
mining implements, ropes, shovels, etc. They represent Progress. 

Four boys in blouses and blue trousers tucked in rawhide boots, 
carrying peddlers' packs. These boys are to represent Commerce. 

Several Indian Girls — In Indian costume with necklaces and moc- 
casin shoes. 

Indian Squaws — With dolls strapped to backs for papooses. 

EPISODE IV— Pantomime— CIVILIZATION BLOOMS AND 
FLOURISHES ON THE OLD TRAIL 

rRiverin — An old man, long vest over long blue trousers tucked in 
long boots — a flannel coat with hood attached, to be drawn over the 
head and then let to fall back on shoulders after the manner of a cape. 
"It was a blanket garment called a capote and characteristic of the 
early costume of the French settlers in Illinois." (Parrish.) 

:Pierre, rFrancois, 'Louis — Three French soldiers in blue uniforms 
with white facings. 

:Rene. Jacques, iMichel — Three voyageurs in buckskins, red handker- 
kerchiefs knotted around their throats. Blue cloth folded as turbans for 
their heads. 

Jean, :Pierre, Jules — Three woodsmen or coureurs de bois. Wear 
pantaloons of coarse blue cloth, long vests and the same style flannel 
coat as Riverin. 

:Father Vivier, S. J. — A French missionary. 

M. Le Comte — Costume of the period (1750). 

:Madame Le Comte — His wife. Plain, short-waisted dress, fancy 
head dress, moccasins on her feet. 

French People of the Village — Men in pantaloons; long vests with 
cotton handkerchiefs tied on heads in picturesque fashion. The girls 
in bright colored, plain short-waisted dressed with fancy ribbon head 
dresses. 

Indians — In bright colored blankets. 

:Twelve San Domingo Slaves — Blue overalls, blue shirts, cloths tied 
on feet, blacked faces and hands. 

EPISODE V— THE TRAIL WIDENS INTO A FRONTIER. 1778 

*George Rogers Clark — A stalwart boy and good elocutionist. Cos- 
tume American colonel of Revolutionary Period. 

*Lieut. Col. Montgomery — Same costum.e except that of rank of 
captain. 

Fifteen Frontiersmen — Frontier costume of buckskin, muskrat caps. 
They carry muskets. 

Simon Kenton — One of Clark's "Long Knives." 

^Captain Rocheblave — Captain in the British army. (See costumes 
of British soldiers, 1776.) 

An Indian. 

*Father Gibault. 

EPISODE VI— "1818"— AN OPENING IN THE TRAIL 

A Soldier at Ft. Dearborn — Pioneer costume, trousers tucked in 
boots, big pioneer hat. 

*An Emigrant from Kentucky — Buckskin coat and trousers, slouch 
hat. 



*Onc of these boys must be able to sing a solo. 

4 



^Emigrant's Wife— Blue calico dress, sunbonnet. 

■'■1 heir Little Girl— Calico pinafore, big sunbonnet 

*Bill, the Mail Carrier— Frontier costume powdered with chalk to 
represent dust. He carries old-fashioned mail bags 

*Black Mammy. 

Little Rastus. 

Second Part of "1818" Tableau 

The State of Illinois-A girl dressed in flowing robes, a circlet round 
lier head surmounted by a single bright star. 

EPISODE VII— "1860" 
THE ILLINOIS TRAIL BECOMES THE HIGHWAY WHICH SHAPES 
THE DESTINIES OF A NATION. 
*Mrs. Smith. 
*Mrs. Jones 
*Mrs. Brown 

—Crinoline costumes, with small hats, perched on top 
of their heads. 
Boys, girls, "women" and "men" for a "mob". 
^^^ *Newsboy— Small boy in long trousers, shabby old cap and coat and 

A Voice in Convention Hall 
Other voices in hall 

—Any of the other speakers of the 
play, who are not in Episode VII 
Scene II. Tableau. 
Ideality triumphs over Conquest and Adventure 
Ideality 
Conquest 
Adventure 
— In tableau group. 

EPISODE VIII-THE END OF THE TRAIL: ILLINOIS RECEIVES 
THE HOMAGE OF THE NATIONS OF THE WORLD, 1903 

The State of Illi„ois-And 25 boys and girls for statuary group rep- 
resenting the different nations of the world. 

EPISODE IX-METAMORPHOSIS OF THE TRAIL-ILLINOIS 
ACHIEVEMENT. 

The Allegorical characters to represent: 

Progress 

Commerce 

Produce 

Chicago (or any selected town in Illinois). 

Patriotism 

Humanity 

Education 

Religion 
,,,,^ g^''0".P of small children (the same group who took part in Episode 
IV), m white dresses with blue ribbons across their breasts 

Civil War Soldier — A young man. 

A Veteran of Civil War in G. A. R. suit 

Soldier of 1918. 

Sailor of 1918. 



THE ILLINI TRAIL 

The Play and the Pageant 

THE PRELUDE 

Before the rise of curtain the song "Illinois" is played by orchestra — ■ 
Then silence — Then an Indian drum is heard beating in the distance. 

Enter Proclamation in front of curtain — with horn held to. his lips — 
(a horn blast is sounded). 

Vinces inside (behind curtain): 

By thy rivers gently flowing, Illinois, Illinois, 
O'er the prairie verdant growing, Illinois, Illinois, 
Comes the echo o'er the breeze 
Rustling thru' the leafy trees — 
And its mellow tones are these — Illinois, Illinois, 
And its mellow tones are these, Illinois, Illinois. 
From a wilderness of prairies — Illinois, Illinois, 
Straight thy way and never varies — Illinois, Illinois, 
Till upon the inland sea 
Stands thy great commercial tree. 
Turning all the world to thee — Illinois, Illinois. 
Turning all the world to thee, Illinois, Illinois. 
Curtain rises on a shadowy stage — "Illinois" center, standing erect, 
with arms folded on his chest; his head alert and thrown back, looking 
off into the distance. The Indian drum is heard drumming monoton- 
ously in the distance. 

Then comes the voices, singing softly in the distance, like echoes — 
By thy rivers gently flowing — Illinois, Illinois, 
O'er the prairie verdant growing, etc. 
(the complete first verse. The Indian drum can be heard beating dis- 
tinctly in the distance, as the curtain descends on Tableau I). 

Proclamation steps in front of curtain from right and cries loudly — 
after a thrilling blast of the trumpet : 
I summon History! 

Enter History (L). She is looking at a scroll and she reads: 
The old mini Trail : 

*"Let us picture, if we can, some of the many who passed this way" 
(makes a gesture, indicating the trail extending from where she stands 
to the place back of the curtain) — meditatively) — "The lonely Indian 
hunter" — (walks along as if going up path ; then stops) — "the entire 
village on the move to new territory; the grave warriors stalking on 
ahead, the leaden squaws trailing behind, the hardy ponies dragging 
the tepees, their long poles scratching up the soft turf; the painted and 
bedecked war party armed and silent, skulking thro' the shadows — the 
black-robed Jesuit counting his beads as he treads the weary miles, his 
one thought the salvation of souls; the wandering coureur de bois — 
careless of comfort and ever at home in the wilderness, singing as he 
toils," (head thrown back and marching buoyantly) "the marching 
troops under the yellow flag of Spain, the French fleur de lis, the cross 
of St. George, and the American stars and stripes; the inflowing settlers; 
the gay merry-making French — the grave-faced American, and amid 
this all, the somber-clad nuns of the Ursulines. All this has the Trail 
seen — Pontiac and Black Hawk, Keokuk and Tecumseh, Gomo, and 
Little Bird, here all have been. Marcjuette and Joliet, La Salle and 



*From Chapter \TII, "Historic Illinois," by Randall Parrish. 

'6 



Tonty, Du Lhut, Clark, Renault, Brisbriant, Dubuque, Crogan, Taylor, 
Harrison, have all in turn borne part — have seen and suffered, toiled 
and conquered along these trails of the long ago — and amid it all bold 
and undaunted hearts were thus steadily shaping the destinies of a na- 
tion, laying the foundations of a mighty state." (Exit History, right, 
as Voices behind curtain sing: 

"Not without thy wondrous story, Illinois, Illinois, 
Can be writ the Nation's glory, Illinois, Illinois, 

On the record of thy years, 

Abraham Lincoln's name appears. 
Grant and Logan and our tears, Illinois, Illinois " 

EPISODE I— THE INDIAN TRAIL 

Drum sounds inside. 

Curtain rises on dark stage, except for the light from blazing camp 
fire in center of stage; in a circle, all around the stage, sit the Indians 
in full war paint and regalia. The Chief — "Illinois" — stands in center, 
as before in- the tableau. Hold this picture for a few seconds, count by 
the drum taps about 20 — then Medicine Man rises from circle and goes 
to fire, putting it out. Stage grows brighter. Dawn. The sound of 
the Indian drum grows fainter and finally ceases. All the Indians at 
signal from Chief rise and with backs to audience and hands uplifted 
sing Indian Morning Hymn to the sun.* After this they separate into 
groups, performing various Indian occupations (**Indian music, by or- 
chestra), skinning and curing furs, grinding corn, making arrows. Sud- 
denly enter the Indian messenger, who by gestures, pointing north, lying 
flat on ground with ear to ground, suggests the arrival of strangers. 
Medicine Man stands in center, takes tomahawk and starts dance. In- 
dian with drum crouches beside Medicine Man drumming, and all the 
Indians stand and form circle around Medicine Man and dance war 
dance. Exit in single file with warwhoops, left. 

Enter History: §This is the heart of the wilderness. Hundreds of 
miles to the northeast a little stockage of logs shelters a Jesuit priest 
or two, while east of that point, scattered here and there amid the sur- 
rounding desolation, are others similar, the merest isolated sentinels 
of French occupancy stretching a thin line of communication thro' 
thousands of leagues of Indian haunted forests. Everywhere is the 
brooding silence, everywhere absence of human activity. The trees 
bordering the stream are filled with birds, the rice swamps all vocal; 
out on the open prairies range the buffalo and deer. Dim trails wind 
sinuously from point to point for guidance to the hunter or the war 
party, but for league on league in every direction of the compass extends 
the same unvexed vista of silent plain and mysterious forest;* (moving 
to the back of the stage, looking off). Nothing moves along the glisten- 
ing surface of the great river. In solitary grandeur it pours its mighty 
flood thro' the wilderness, as it has done for unknown centuries. It is 
the monarch of all this mysterious land — the unnamed ruler upon whose 
bosom no white man's heel has ever made impress. But the hour has 
now dawned for the unlocking of the great secret, and around that dis- 
tant curve steal silently two birch bark canoes, their adventurous prows 

*"The Sun Worshippers", P. 98, Junior Laurel Song Book. C. C. 
Birchard & Co., Boston. 

**Introduction, played twice, of Coleridge-Taylor's "Scenes from 
The Song of Hiawatha" (opus 30). 

§From Chapter III, P. 41, "Historic Illinois," by Randall Parrish. 

*(Note.— The River theme, in "Scenes of the Song of Hiawatha", by 
Coleridge-Taylor, pages 120-121, should be softly played by orchestra, 
up to the theme of the "Black Robe" (the Coming of Father Marquette, 
page 156, number 42, in Novello edition), which should be played for 
entrance of Marquette and Joliet. 

7 



turned southward, their occupants of the white race. They are the 
first of their blood to pass this way in all the centuries. Fronting the 
unknown — the savage Indian on every side, the solemn wilderness a 
weight upon them, they yet press sternly forward, feeling their uncer- 
tain passage mile by mile deeper into the desolation. In the first of 
these canoes are three men. At the paddles two Canadian voyageurs, 
swarthy of face, roughened to every hardship of this far frontier, their 
heads wound about with gay-colored kerchiefs. But up within the bow, 
his eye scanning every object, is a man of another type — strong of 
build, dary of eye and beard, alert, with intelligent face and energetic 
gesture. It is Louis Joliet, the son of a Quebec blacksmith, himself a 
fur-trader and the man especially selected by Talon and Frontenac to 
unlock the secrets of this great, mysterious river of the west, the won- 
ders of which have been borne to French ears from the lips of wander- 
ing Sioux.* Behind, urged on by three other paddling engages, sweeps 
the second canoe; but he who sits within, his eyes searching the waters 
and uplifted in prayer towards the blue sky, has little in common with 
that fur-trader so sternly pointing the way. He is a man of 36 years, 
smooth shaven, delicate of frame, his face thin and careworn from ex- 
cessive vigils, his eyes deeply sunken, his form enveloped in a shapeless 
black robe, frayed and rusty from long travel. At his girdle hangs a 
crucifix, and his white hands finger the rosary, his lips moving in con- 
tinual supplication. It is Pere Jacques Marquette, of the Society of the 
Jesuits, for five years past missionary to the Upper Lakes. To look 
at him is to read his traits of character beyond mistake, a true suc- 
cessor to those other princely martyrs of the frontier — Jognes, Garnier 
and Brebeuf. His one ever present thought now, as these boats sweep 
swiftly downward, is the salvation of souls. Joliet may scan those 
banks with apprehension, but Marquette longs for the sight of the sav- 
ages — that he may deliver to them the message of his religion. Land- 
ing, they find a deeply indented path leading directly across the sur- 
rounding prairie. Joliet and Marquette, leaving their canoes in charge 
of their engages, set forth alone on their dangerous mission of dis- 
covery. (Exit History.) 

Enter Marquette and Joliet; Joliet, indicates by his hand, tracing the 
path in the ground, the trail which they follow. Both looking intently 
on this path trace the footsteps of men till they reach center. Drum 
sounds feebly in distance. They stop and listen — Joliet points ofif where 
sound of drum is heard, and shows that trail leads off that way; he 
puts hand to mouth and halloes. 

Enter Illinois and Medicine Man and three chiefs, who stand 
gravely on stage in single file and stare defiantly at the intruders. Illi- 
nois stands in advance with arms folded on chest. Marquette extends 
both hands in a hearty gesture of friendliness to the chiefs; Illinois 
extends pipe of peace — offering it with bowl towards his forehead, stem 
towards Marquette, who takes it and pufifs it and hands it back in the 
same fashion; Illinois extends the same ceremony to Joliet; the other 
three chiefs ofifer their pipes. Enter the other Indians (left), who 
crowd around the strangers with looks of wonder and curiosity. Enter 
a few squaws (left) and little Indian children. (Music, Gounod's Ave 
Maria.) Marquette stands at back center with crucifix — he points to it 
and then takes a picture of Our Lord from inside his cassock and fas- 
tens this to a tree. The Indian children crowd up to him and hold on 
to his cassock. Half of the Indians sit on ground, facing him, others 
stand erect with arms folded. He takes out a picture of Immaculate 
Conception and fastens this to a tree. Indian squaws file up one by one, 
seize his hand and kiss it. Marquette points to picture — points to sky 
and makes a gesture which includes them all and points to picture as if 
assuring them the Queen of Heaven is their mother. 



*Music : Fr. Marquettte theme : Scenes from The Song of Hia- 
watha. Coleridge Taylor, No. 41. 

8 



Holds up rosary — Tableau. 

Enter History (music still playing very softly) : 

"Thus Marquette had claimed the land for God naming his mission 
the "Immaculate Conception." History then steps to front of stage, 
in front of curtain, and curtain descends on the tableau. History (read- 
ing from her scroll: "Joliet must return to Frontenac with his news* — 
but Marquette remained all winter and the summer following seriously 
ill in the dismal station at Green Bay, the mission of St. Francis Xavier. 
His one prayer during all these months was that he be given strength 
to return to the waiting lUini. At last, when autumn came, he de- 
parted, though far from well. Two engages, Pierre Porteret and Jacques, 
were his sole white companions. At last, after much suffering and diffi- 
culties, he came again to the Illinois country, where he was received 
"like an angel from heaven." (P. 51, Historic Illinois.) 

It was a few days after the celebration of Easter that he departed — - 
a large concourse of Indians vo\'aging with him in their canoes and 
showing him a new route by way of the Kankakee. At St. Joseph he 
left them, embarking in a frail canoe, accompanied only by his white 
companions. All about him was the fresh beauty of springtime. Yet, 
as the faithful Pierre and Jacques paddled their boat past the desolate 
shores, the dying Jesuit lay helpless in the canoe, his sight already 
dimmed, his small strength rapidly waning. On the 19th of May he 
conceived that his hour of departure was indeed at hand, and as they 
discovered the opening of a little river in the shore line he requested 
his companions to paddle in towards the bank. Hastily the two sor 
rowing servants erected a shelter of bark on some rising ground near 
the southern bank of the stream, and bore the fast dying priest there. 
(Music.) He gave solemn directions regarding his burial, asked for- 
giveness for all the trouble he had ever given them, and "thanked God 
f he was permitted to die in the wilderness, a missionary of 
the faith and a member of the Jesuit society." That night he 
I bade them sleep all they could, pledging himself to call them 
Ave I in time of need. Three hours later they heard his faint 

Maria j voice calling, and found him. dying. He expired, breathing 
played ^ the name of Mary, his dim eyes fastened on a crucifix held 
softly. I before him. So, in the savage heart of that wilderness where 
I he had labored so long, and not for earthly reward, passed 
I away, this discoverer of the Illinois Country.* (Exit His- 
' tory.) 

Proclamation, coming forward, center : 

In Discovery's wage, in every age. 

These Three loom up on Flistory's page 

Enter History, backwards, left. 

Proclamation, summoning Adventure — Adventure ! (Adventure 
enters.) (Music plays 4 introductory bars of Pirates' Chorus No. 12, 
Pirates of Penzance, Gilbert & Sullivan.) 

Proclamation, summoning Conquest— Conquest ! Enter Conquest. 
He has a curved sword or cutlass in one hand and a gun in the other. 
He moves past History, with fierce, decisive steps, and exits. (Music 
plays Introduction (9 bars) of Calf of Gold from "Faust".) 

Proclamation— Ideality ! (Music plays 9 bars of The Brotherhood 
of Man. p. 168, Junior Laurel Songs, C. C. Birchard. Boston.) 

Enter Ideality with an emblazoned banner in one hand and upraised 
sword in other hand. (He stands for the old ideals of knighthood.) 

Exit History, following Ideality. 

(End of First Episode.) 
(Singing behind the scenes of "Amaryllis", page 118, Laurel Songs.*) 



*Complete edition, C. C. Birchard & Co., Boston. 
*Pages 52-53, Historic Illinois (Randall Parrish), 
*Page 49, Historic Illinois (Randall Parrish). 



THE SECOND EPISODE 
(The Foothold for France.) 

Interior to represent a roortl in the French Court, a large chair on a 
dais, near which is a table on which are writing materials and a board 
for chess, also a document with a seal attached. Door at back. Center 
hung with portieres. 

Louis XIV. 

A Courtier. 

A Page. 

Louis, seated on chair, is taking snuff from a fancy snuff box as 
curtain ascends. 

Louis (waving his hand majestically to page) : You may tell them 
to come in! (Leaning on arm of chair and looking towards audience. 
Page exits.) (Door at back.) 

Louis: These plagued explorations take money! (Slapping his 
hand on his knee.) I can borrow ! I believe it will be a rich land for 
France some day. 

(Page enters with La Salle and Tonty. They both wear gauntlet 
gloves.) 

Louis : Ah ! which is the explorer of the dangerous forests and 
wilds of New France? 

(Tonty stands back, hat in hand, while La Salle advances to the 
king, bending on one knee, taking off his right glove, takes Louis' ex- 
tended hand, he bends his head over and kisses it. 

La Salle — Rene Robert Cavalier de La Salle, your majesty, at thy ser- 
vice ! 

Louis (with bored interest) : Oh, yes — I have the letters from the 
Governor in Canada — I know of thy exploits already, my friend. 'Tis a 
gigantic enterprise thou hast planned, this new Western venture in the 
New World, but I have (snaps his fingers) no wherewithal — in point of 
fact, no moneys — ■ 

La Salle (eagerly, still kneeling and in a supplicating manner) : 
Sire, I stake all my properties in France, and they are considerable! 
My all, I am. willing to risk in this enterprise ! My desire is to devote 
my life and future in this cause — for God, my king, and country! 

Louis (in amused and trifling mood): Ah, well! 'tis a chance! I'm 
fond of chance myself! Come, now! (La Salle rises.) Well, we will 
bestow our blessings and our thanks on thee, but wait" (turning to- 
wards the table and snapping his fingers at the courtier, who brings 
him papers — a large document with a seal attached from the table.) I 
said we have had good news of thee from Frontenac — how wouldst 
thou like a title in return, from the hand of Louis the Grand? Pierre, 
my pen ! (Louis goes to table.) 

(Page goes to table, taking up quill pen, hands to king with cere- 
mony. Louis signs his name on document, with a flourish.) 

There ! Here's a grant to certain lands and the royal permission 
to claim it for France and Louis — the power to be represented in the 
person of "Chevalier de la Salle." (Louis, one hand on table, gives docu- 
ment to La Salle. La Salle takes document from Louis, kneeling once 
more. Louis extends the back of his hand in handing the paper and 
La Salle kisses it.) 

La Salle — Oh, sire! I thank thee. 

(Tonty comes up as La Salle rises and kneels to kiss the hand of 
La Salle in joyous congratulation.) 

Louis — Present thy doting friend. Chevalier! 

La Salle — Henri de Tonty, Sire, my good lieutenant, a young Italian 
of noble birth and protege of the Prince of Conde. 

Tonty (kneeling) — Thy servant. Sire! At the service of France 
under my gallant captain, Chevalier de la Salle. 

(Louis extends his hand with ceremony. Tonty is embarrassed^ 
iiolding his iron hand in his left hand nervouslv— but in another second 

10 



he tears off his glove, exteiuls his iron liaiul boldly, uiulcr the stiff, out- 
stretched hand of the king; as he bends to kiss the hand of the king, 
Louis gives a sharp exclamation and jumps back in astonishment.) 

Louis— Why, man ! What's this ! a hand of iron ! 

Tonty — A grenade at Messina blew^ off my right hand, Sire— I miss 
it not — save that I lack two trusty servants that could strike for France 
and for thee. Your Majesty! 

La Salle (putting his hand on Tonty's shoulder)— He is not less a 
gallant soldier, or loyal friend for want of it. 

Louis (wiping his hand delicately with a fine lace handkerchief)— 
Zounds! What an amusing adventure! Rise! Oh, highly interesting, 
this friendship between such two! (Goes back to chair.) Yes, Tonty, 
thou wilt make a good soldier, I'll warrant! Well, go, my children, 
down the long trail which leads from Versailles to the Indian haunted 
forest of the New World, and mind ye ! keep a firm foothold, on what- 
ever path ye take, for France! (Leaning back in chair and yawning 
behind his lace handkerchief.) My blessings on thee both. (He rises 
and goes to table, and — he pauses at the chess board.) Let France and 
Louis the Grand be your motto! 

La Salle (standing in door) — Ah, Sire ! God — my country and my 
king! (Tonty stands with his arm about La Salle at back — Louis 
laughs and waves a gay hand at them.) 

Louis — Well, so be it ! (He goes back to chair and watches them as 
they go out. La Salle raises his sword so that the hilt forms a cross 
above his hand. Tonty stands posed with his hat raised towards La 
Salle's sword.) 

The singing inside of Amaryllis commences again, and the stage 
grows a little dark as Conquest enters stealing in beside Louis, who lies 
back in his chair dreaming in a languid pose, his hand on the arm of 
the chair, the other hanging lazily down. Adventure steals in, and 
])uts his sword gently on the back of Tonty. Ideality steals in softly, 
beckoning on La Salle (held for one minute picture). 

(Curtain.) 

(Enter from right. Proclamation and History in front of curtain.) 

Proclamation — After Pere Marquette,* "among all those French 
names connected with earliest Illinois history, the one which looms 
largest is that of Rene Robert Cavalier, Sieur de la Salle" (blows trum- 
pet at center of stage and again at side wing). Exit left. 

History steps forward with her scroll § "Born in 1643, at Rouen, 
France, the son of a wealthy merchant, an earnest Catholic, educated 
under the guidance of the Jesuits, he came, at the age of 23, to Canada. 
His imagination had been kindled by the vast leagues of untravelled 
wilderness stretching westward beyond the uttermost French frontier. 
His is a story, sad and heroic, of constant struggle, not only against 
the inhospitable wilderness, the dangers innumerable of unknown forest 
and prairie, lake and river, but the continual conspiracy of enemies in 
Canada, jealous of his hard-earned success. A weaker man would have 
fallen early beneath the ever-increasing burden, but La Salle battled on 
grimly to the end, a brave, pathetic figure, and has written his name 
indelibly across the heroic annals of the West. It was in October, 1679, 
that La Salle first set foot on Illinois soil. The spot was somewhere along 
Lake Michigan shore, within the limits of the present county of Lake." 
**"His was a motely company of 14 men; of these, 10 were Canadian 
voyageurs; the others, priests of the grey robe, the Recollet friars, 
Louis Hennepin, Gabriel de la Ribourde, and Zenobe Membre." "Beyond 
the mouth of the Chicago, he attained the entrance of the St. Joseph 
River. Here he expected to be joined by another party of 20 men, 
under comm.and of his lieutenant, Henri di Tonty, who had been ordered 



*Paragraph 7, Chapter 4, Historic Illinois (Randall Parrish). 
**P. 56, Chapter 4, Historic Illinois (Randall Parrish). 
§Idem, Paragraph 2, Historic Illinois (Randall Parrish), 
' " 11 



to proceed down the eastern shore from Alichillimackinac. The com- 
pany waited 20 days before the latter made appearance, busying them- 
selves meanwhile by the erection of a rude log fort." (Pages 56 and 57, 
Historic Illinois.) 

"December 3, the party re-embarked in eight canoes. On New 
Year's day they landed to hear Mass and wish each other a happy New 
Year, and 4 days later the prows of their venturesome canoes entered 
that wider expanse of water now known as Peoria Lake, until the}' 
reached the present site of the city of Peoria, where they established 
night camp. La Salle now began the erection of a small fort. Within 
this primitive enclosure the men lodged in small huts. La Salle and 
Tonty shared together, tents near the center, another similar struc- 
ture was erected for the use of the three friars. Such was Fort Creve- 
coeur — Broken Heart — the first fort ever built in Illinois Country.* 

La Salle was assassinated bv one of his own cowardlv men, March, 
1687. 

(Enter Proclamation bearing the French fleur-de-lis banner.) 

History — Thus perished one of the most rem.arkable explorers whose 
names live in history. § 

Proclamation — "America owes him an enduring memory. Illinois 
especially should forever do honor to this name."| 

(Exit History left. Proclamation right as curtain ascends in Tab- 
leau.) "La Salle taking possession of the Illinois country in the name 
of France." 

La Salle in the center of stage, his head upraised, his right hand 
holds his sword extended over the soil, of which he is formally taking 
possession. In back of him, 2 swarthy voyageurs, heavily bearded, are 
setting a large cross in the ground. A man with a tri-cornered hat 
swings the flag bearing the fleur-de-lys. He is standing just beneath 
the cross. Father Ribourde, his back to audience, has his arms ex- 
tended, as if blessing the banner and cross. Two other friars kneel 
near by. One voyageur with ear-rings in his ears, rests on his shovel, 
near the cross. Indians grouped around gazing at the flag and cross. 
Tonty stands under the flag — his iron hand upraised, his hat in his hand, 
as if swearing to defend this flag. Two other men are kneeling. (Be- 
hind the scenes Te Deum is chanted while the tableau is held.) 

(Curtain.) 

(The singing of Te Deum continues very softly behind the scenes.) 

THE THIRD EPISODE 

Blazing the Trail for Civilization. 

Curtain rises on same scene as Episode I. A pot suspended from 
poles over a fire (left). Logs, etc., and tlie various projierties required 
for the different groups. 

Enter History — *"In the very advance of exploration of settlement, 
long the foremost figures on the far French frontier, were the priests of 
the long black robe and of the grey. Heroic beyond words, pathetic 
beyond expression, is the simple story of their labors, hardships and 
defeats. Nor is it possible to say that the greater meed of honor lies 
with either the Jesuit or the Recollet Order. Both alike, in their chosen 
missionaries, exhibited devotion, patience, and heroism to the highest 
possible degree." *"They encountered danger and suffering in every 
possible form; the perils of nature, the inhumanity of savages. Some 
were drowned, some starved to death, some, losing their way, perished 
alone in the dread desolation. Yet none hesitated before the call of 
duty, and wherever a soldier of the Cross fell, another came forward to 



*Chap. IV, Historic Illinois (Randall Parrish). 
P. 69, Idem. 
JParkman & Parrish. 

*Par. 1. Chapter VI (p. 88), Histoic Illinois (Randall Parrish). 
*P. 89, Chapter VI, Historic Illinois (Randall Parrish). 

12 



walk unhesitatingly in his footsteps." "Oftentimes in that wilderness 
it required greater heroism to live than to die. Certain it is that these 
pioneers of Christ, upheld by the zeal of faith, penetrated every nook 
and corner of this great wilderness country, zealously seeking the sal- 
vation of souls. "§ "Hunger and cold, exposure and danger, were merely 
incidents of their service."! 

(At left.) Ideality enters slowly — beckoning as he advances with 
slow, measured gesture — his upraised sword gleams in the half-light. 
(Music plays softly Brotherhood of Man, p. 168, Junior Laurel Song 
Book.) 

History — JThey went wiierever they were sent; they did their work 
in silent patience, whether the end was destined to be life or death. 
These men explored the waterways of the Illinois, pressing their frail 
canoes up narrow streams." (Enter a Jesuit — following Ideality but 
looking down as if following a narrow path.) 

History — °"On foot, and frequently alone, they toiled over the In- 
dian trails bearing with them scarcely more than breviary and rosary, 
their one consuming desire the salvation of souls." (Jesuit walks to 
left across «tage at back and disappears, following Ideality, who exits 
back, right. 

Proclamation — 

"Behold him on his way! the Breviary 

Which from his girdle hangs, his only shield. 

That well-known habit is his panoph' ; 

That cross the only weapon he will wield. 

By day, he bears it for his staff afield; 

By night it is the pillow of his bed. 

No other lodging these wild woods can yield 

Than Earth's hard lap, and, rustling overhead, 

A canopy of deep and tangled boughs far spread." 

— Southey. 
Enter procession of friars (left) as stage grows brighter: 8 Jesuits 
and 8 Recollets in grey. The first two read from Breviaries, the next 
two walk with arms folded, the next two reading, the next two with 
arms folded, etc. At right. Ideality enters and marches, backwards, at 
head of procession — with his banner; his sword is sheathed at his side. 
Ideality sings as he marches at head of procession : 

Song, The Brotherhood of Man — Frederick H. Martens, D. F. E. 
Auber. Arranged by J. Remington, Junior Laurel Song Book. 

The glory of Truth is our cry; 

Right and Justice the arms of our might. 

No eagle of gold, tops our standard unroll'd, 

Olive crowned is our banner of white ! 

Let all unite in Freedom's name ; 

The glorious word of Truth proclaim ! 

Truth proclaim, Till the shadows of night 

Disappear in the light from above; 

A kingdom shall rise, with its crest in the skies 

Call'd the Kingdom of Brotherly Love. 
(Repeat the Chorus at A. in song book.) 

They circle the stage — at right two Indians meet the first two friars. 
They walk four abreast; at left two more Indians meet the second nair 
of friars and march four abreast, and so on— two more joining the third 
pair until the entire procession moves four abreast; at the end of pro- 
cession four squaws and six children fall in line. After all circling 
stage in this manner thep separate into groups, as follows : 

Group I — At upper left. A Jesuit seated on a stump has a catechism 

§P. 89, Historic Illinois. 
tP. 99, Historic Illinois. 
i:P. 99, Parrish. 
°P. 99, Parrish. 

13 



in his hand, and is instructing a group of five Indians. (The 3 chiefs, 
Medicine Man and scout of first tableau.) 

Group II — ^The boy who represented Fr. Ribourde in preceding tab- 
leau has a bottle of medicine and rubs an Indian's arm (the boy who 
represented "Illinois" in first tableau). 

Group III — A Jesuit, seated on a rock, is writing an Indian diction- 
ary. Indian crouched beside him, looks up into his face, holding a bow 
and arrow in his hand, as if he had just given Indian name for this, 
and priest is writing this on pad. 

Group IV — Two Indians lying full length on ground, their heads 
supported by their hands, listening to a Recollet whose hand is up- 
raised as he teaches them of God (the Recollet who was with Hennepin 
in preceding tableau). 

Group V — The other Recollet of preceding tableau has a shovel and 
is showing 2 Indians, their hands on their knees, as they bend over to 
look, how to till the soil. 

Group VI — Three Indians seated on ground against a log are learn- 
ing to write on pieces of bark with chalk. A Recollet stands at one end, 
overlooking their efforts — a Jesuit at the other end kneeling and point- 
ing on the bark, as if explaining the meaning. 

Group VII — A Jesuit with a hymn book, holding it before him, in 
the act of beating time with one hand, teaches a group of squaws (lower 
right) and Indian children to sing. 

Group VIII — A Jesuit sitting in the center of Indian children playing 
marbles. They are seated on ground around him and laughing. 

Group IX — A Recollet with hammer and nails is showing 2 Indians 
how to build a boat. He has planks and carpenter materials near him. 

All this grouping may be held as a tableau or given with appro- 
priate, but delicate, pantomimic action. 

Music in orchestra plays — introduction (4 bars) to No. 12 Pirates 
Song, Pirates of Penzance. Enter Adventure at pause in 4th bar (music 
of Pirates Song). At his entrance he shades his eyes with his hand and 
peers around, then walks around the entire stage in a big circle, looking 
from group to group. At center again he puts his fingers to his mouth 
and whistles. Enter the 4 boys dressed as Hunters — from left to right. 
They are sighting game with their muskets. Indians from Group II 
(with Illinois) and Group III and Group IV advance towards Hunters. 
The hunters hold up the skins hanging from their belts and the 4 In- 
dians take their necklaces from their necks and hold them up, offering 
them for trade. They make exchanges — 2 hunters go over by fire and 
warm their hands. One goes up to group where the friar wields the 
shovel — the last one saunters to back where the carpenter work goes on. 

They stand looking on. (Note. — Each steo must be counted in time 
to the music, so that all the movement will be simultaneous and in 
rhythm.) 

Adventure holds center of stage, his arms folded across his chest, 
in an attitude of being "monarch of all he surveys". Now the 4 Indians 
with the skins advance towards the front center — spreading the skins 
on the ground as if to dry them in the sun. Then the Indians lie flat 
on ground (each in back of a skin), their arms folded under their chins 
as they watch the skins in process of drying. The light gradually fades, 
little by little. 

The friar in Group VII puts down hymn book, seats himself on a 
log and sings : "La France est belle — " 

All the grouDS move to various postures, expression of listening. 
Group I of 5 Indians take out their peace pipes : 
"La France est belle," 

O my France is fair. Shepherds come, 'tis spring. 
Let us love her e'er 
And all her praises sing 
Over the mountain, over the sea, 
14 



Over all tiic clinics that be 

Where'er you chance 

Far tho' it be, 

You will always long for France — 

Chorus — 
O my France is fair. 
Shepherds, come, 'tis spring! 
Let us love her e'er 
And all her praises sing. 

And we her sons — with ardor 
We work for her grandeur — 
OfT'ring to God, our Creator 
Burning hearts of zeal — • 

Chorus — 
O my France is fair, etc. (Music in Songs of Canada.) 

At commencement of 2nd verse the squaws go softly around the 

stage, picking up sticks. They build a fire with the sticks. One squaw 

lights the fire with spark from a flint. The fire light from the fire shines 

out. At the second chorus, "O my France is fair," 

enter Conquest just as the last notes of song die away. 

Music of The Calf of Gold (Faust) for his entrance. 

He circles round the fire with hop and skip step, first 

one way round, and then the other way, round fire, 

as if making an incantation — laughing fiendishly the 

while. He then stoops over and snatches a brand from 

the fire (a lighted stick of Chinese punk which he has 

brought in with him concealed). He approaches Group 

I — the 5 Indians with the long peace pipes. He lights 

the pipe of the first Indian with his fire brand. The 

^^^"' missionary stands up and puts his hand between the 

° pipe and the fire brand, but Conquest pushes him 

~:^ ° rudely aside and lights all the 5 pipes. Then stands 

aside laughing with fiendish glee as the 5 Indians, lay- 

p^^ ing aside their pipes, get down on their knees and 

louaer steal on all fours from back stage down to front, where 

^^ the four pelts are drying. Stealing quietly past the 4 

^^ Indians guarding their skin-pelts, they steal the pelts 

^^. and start to crawl out — left and right wings. The 4th 

^^ Indian, as he starts to crawl toward right at right 

^''.^'/^ center is met by the Sth, who has not secured a skin. 

P They grapple at right and exit struggling. Father 

onques Ribourde rushes to come between them, but Con- 

procee s. quest comes up and throws Father Ribourde on his 

knees. Conquest goes to upper left and waves his 

hand. At this moment stage grows brighter and 4 boj's 

dressed as miners enter — with ropes, pans, etc. (from 

upper left). The first two go up to where Father 

Ribourde has fallen ; they roughly seize him and roll 

him out of their way. They take out a deck of cards 

and one, on his knee, starts dealing them on ground. 

The other, with hands on hip, stands intently watching. 

The 2 Indians from Group IX come down, squatting 

on ground to watch the card game. 

Conquest stalks over to this group and stands there, laughing. 

The next boy dressed in miner's clothes takes hold of priest in 

Group V, tying his hands with rope he carries. The "man" takes out 

a knife from belt, threatening Indians, who kneel in supplication. 

Fourth "miner" snatches the hymn book held in the hand of priest of 

Group VII. The children cower and are frightened. The "miner" tears 

up the pages and puts them bit by hh into the fire. (Right.) 

15 



Conquest goes over to fire (right) and leaps about it. Four men 
with peddlers' packs enter. First one goes to children (Group VII) and 
holds up bright necklaces from his pack. Second one goes to the squaws 
and holds up ribbons. Third goes to group IV — shows a bag of money, 
takes out coins and throws them into air and jangles the money in bag. 
Fourth one goes to Group VI, still seated on ground with their bark and 
chalks, and out of his pack draws a bottle. Passes the bottle under the 
nose of each Indian — takes a drink from bottle, smacks his lips, gives 
each Indian a drink. Missionaries try each time to keep him away but 
Conquest spreads out his arms, thrusting Missionaries aside each time. 
(Music of Calf of Gold dies away.) 

Indian drum is heard back of the scenes, rolling ominously — Indians 
of Group VI rise and forming in a circle start the war dance brandishing 
their tomahawks. (Music of War Dance.) 

Adventure enters and joins hands with Conquest. They do a dance 
step and as they dance around stage — the entire assembly disperses, in 
a scene of confusion ; there is running to and fro — stage grows darker 
and Adventure and Conquest dance around the camp fires. Conquest 
at the one (left) and Adventure around the other. — Dark stage now ex- 
cept for the camp fires — Ideality is suddenly revealed in center, hold- 
ing a cross, as the spot light plays on him. Adventure laughs heartily 
(exits left), and his laugh can be heard for a long distance as he goes 
along. From the other side comes the cackling, sinister laughter of 
Conquest as he exits right. 

Ideality goes off singing. ("The Brotherhood of Man", Junior 
Laurel Song Book.) 

Adventure's laugh now comes from the distance. 

Conquest's laughter comes from the left — 

Ideality now in the right wings is still singing — his voice echoing and 
re-echoing. 

The glare of the camp-fire shines out on a lone figure, in cassock 
and cowl who enters at left and walks along to the right as if toiling 
over the narrow trail ! He is followed in a second by another "mis- 
sionary" in black robe — a Jesuit. The procession of 8 boys — alternating 
Recollet and Jesuit, who have figured in the beginning of this scene 
comprise this little procession. 

Curtain as the 8th figure makes his appearance and starts to walk 
across stage. 

Enter History in front of curtain : she is followed by Proclamation. 

History : 

^"Nothing material remains today, in all this Illinois country, to re- 
call those early labors of Jesuit and Recollet. The great silent wilder- 
ness amid whose solitudes and desolation they wandered in religious 
zeal has become the abiding-place of civilization, the vast prairies are 
smiling farms, the savage-haunted streams are highways of commerce, 
but the black robe and the grey have alike vanished like a forgotten 
dream." 

Proclamation : 

"Yet, surely we can give full honor to the magnificent sacrifice, tlie 
supreme heroism, of those men who sunk their all. in unrewarded toil 
in the heart of the black wilderness." 

History (reading from scroll). 

If constant suffering, hardships innumerable, patience and a life of 
rigorous self-denial with death at last in the drear wilderness be an 
open door to true martyrdom, then many an almost unknown priest 
of the Illinois should have his name written high on the roll of honor.* 

Proclamation : 

With all her later names of honor, Illinois can not afford to ignore 
a Marquette, AUouez, Rale, Ribourde, Hennepin, Membre, Gravier, Pinet, 



p. 98, Chapter Xl. Historic Illinois, Randall Parrish. 
*I — From pages 88-89 — Historic Illinois bv Randall Parrish. 

16 



Bineteau, Marest, Marmet, St. Conne, Bergier, de Ville, Le Bullenger, 
De Beaubois, Guymonneau, De Kereben, Dumas, Tartarin, Watrin. Guy- 
enne, Vivier, Aubert, Meurin, Richard, Gibault and Olivier, tliose humble 
soldiers of the cross who died in her service. Nor can any mere ar- 
rangement of names and dates justly tell their story.** 

History : 

Little missions sprang up here and there throughout the wilderness. 
Today the very locations of most of these are unknown, yet there was 
scarcely a stream of any importance that had not been the labor-spot 
of a "long-robe — " mere dots in the surrounding savagery like those 
established at Chicago, Peoria, and at the mouth of the Des Moines. 
We cannot even tell the names of the men who toiled in them, how 
they lived or where they died. (3) 

Proclamation : 

These soldiers in tlie ranks wearing their coarse robes of black 
and gray, did their complete duty and deserve the applause of the 
world, the "Well done" of God.*4 

Proclamation (blows a lilast to each of the four points of the com- 
pass ; Exit fight). 

History: (stepping to center of stage) (explaining). 

"In those years before white men came to Illinois, the virgin prairies 
of the country were cris-crossed by innumerable Indian trails. The 
Indian mode of journeying when on foot was always in single file. Their 
trails soon cut deeply into the soft alluvial soil of the prairie, leaving a 
plainly marked and narrow track, worn by the hundreds of moccasined 
feet passing that way. And these main trails which in early days inter- 
sected the Illinois country, exhibit few mistakes in judgment. Nor, 
with all these years which have passed since wandering moccasined feet 
thus wore away the soft prairie sod, have evidences of these early abor- 
iginal trails wholly vanished. The lines were cut not only across the 
dreary wilderness, but equally deep have they been impressed upon his- 
tory.* 

(Exit History.) 

— Intermission — ■ 

Part II. 

Enter History with the fleur de lis banner, her scroll by her side. 

"The overland trail between Kaskaskia and Detroit, was very early 
established".* *"The oldest permanent settlement by Europeans, not 
only in Illinois, but in the entire Mississippi valley, must be credited 
to Kaskaskia".*.. "This town, the principal point of colonization, as 
well as of political and social power during 120 years and under the 
shadow of three flags, was in most respects a typical French village of 
its age".*3 "Everywhere the social instincts of the people found outward 
expression." "The dance was the principal diversion of the villagers 
and was made a part of every festivar'(4). "In the dance all participat- 

(4)Page 137-138, Chapter 9, Historic Illinois, 
ed from oldest to youngest." "No regular court was ever held in this 
country during French control, yet there remains no record of any 
serious infraction of law. The commandant who exercised almost king- 
ly powers, aided by the friendly advice of the priests, either prevented 
controversies or quietly settled them. All were ardent Catholics, look- 
ing to their priests for guidance in both spiritual and secular affairs : 
the priest was advisor, director, and friend to all his flock. Hospitality 
was held a duty, always cheerfully performed, taverns were unknown, 

*II — From Chapter 8 — Old Prairie Trails and Their Travellers — 
Historic Illinois by Randall Parrish. 

*Page 121 — Chapter 8 — Historic Illinois. 
*2Page 129 — Chapter 9 — Historic Illinois. 
*3Page 135 — Chapter 9 — Historic Illinois. 

17 



for every house supplied the deficiency. Their very manners commend- 
ed those French habitants to the good will of their savage allies. The 
frank, social disposition of their natures made the preservation of peace 
with surrounding Indian tribes an easy matter." 

"In 1721 Kaskaskia became a parish and the Jesuits established a 
college there, and in 1722 the commandant issued the first land warrant 
known to the records of what is now Illinois." "Thus day after day 
passed by, in perfect contentment and peaceful indolence. Magnificent 
fighters on occasions of necessity and ever prompt volunteers at the de- 
mand of the King, when the battle ceased they were at once trans- 
formed into polite courtiers. Of rank there was little distinction, ex- 
cepting the priests and military officers all were upon equality, all 
dressed alike, all met on the same social plane. Thus in the very heart 
of the continent, more than a thousand miles from either ocean 
flourished for nearly a hundred years these interesting communities 
of French pioneers. "(5) 

(History stamps foot for curtain to rise, raises arm and points to 
the picture of Kaskaskia and the French pioneers) (Exit History). 

EPISODE IV. 
THE NEW YEAR'S EVE BALL IN THE FRENCH SETTLEMENT. 

A bare interior — a few benches, chairs and stools against the wall. 
At the left back an open door-way. Table (center back) on which a 
fiddler is seated — two baskets of fruit on the table. Pails and dipper on 
floor near table. A gong behind scenes to strike twelve. 

Curtain rises on Villagers of Kaskasia dancing. 

In the centre group : M. Lecomte, Madame Lecomte, two soldiers 
each with partners, Riverin with an old lady. 

For music and further instruction on the dance see "Collection of 
Historic Dances" compiled and edited by Mari Ruef Hofer (Clayton F. 
Summy). Music : "Les Moulinets" (page 56). 

Toward the back four San Domingo slaves and four Indians danc- 
ing in a gioup. At one side a group of children dancing. Groups of 
eight arranged on stage — all with hands on hips — balance to partners — 
(eight bars) etc., through figures of dance — ending 

"All promenade." 

Then the dancers seat themselves. 

Six slaves go to the people with pails of water and dippers or 
gourds^ — other slaves pull out chairs and busy themselves waiting on 
their masters. Indians sit on floor wrapped in their blankets. 

Enter Father Vivier in three-cornered hat and long cloak — he 
stands in the door-way for a moment and then takes off his hat and 
bows low to the villagers who rise at his entrance. Ladies and children 
curtsey low to him. 

Mme. Le Comte hastens to greet him. She curtseys low before him. 
M. Le Comte comes up and bows to the priest. Priest walks with M. 
Le Comte and Madame to the group of children — priest puts his hand 
on head of a child — Mme. fondles another child — a third, the smallest, 
puts her hand in the priest's, and looks up in his face, 

Mme. leads the children to centre of stage, claps her hands — they 
form a circle around her and sing — holding their hands as if they were 
watering flowers with a watering pot — ■ 

"With care I tend my rose-bush gay, 
"With care I tend my rose-bush gay, 
"That buds and blossoms every May, 
"That buds and blossoms every May, 



(5)From chapter The French Settlements, Chapter 9, Historic 
Illinois by Randall Parrish. 

18 



(Join hands and skip step in opposite direction.) 

"Come dance with me, thou rose-bud fair, 
"There shall be found no lovelier pair, 
"Choose one rose-bud of the rest 
(Mme. choose a little girl from the ring.) 
"Choose one rose-bud of the rest 
(Jumping up and down and clapping.) 
"Dance and sing, 
"Dance and sing 

"Choose a rose-bud from the ring".* 
(Repeat until all are chosen.) 

The rest of the company who are seated clap hands in applause, 
when this song is finished. The twelve slaves come forward — each 
takes a child and lifts it on a chair, and stands beside the child fanning 
her with a bright-colored bandanna handkerchief. Enter Rene — 
Jacques — Michel (Three voyageurs). 

Mme. L. goes forward and shakes each one by the hand and leads 
them to a bench near the fiddler. 

They 'sing. 

THE SAILORS OF LEE,* 

Now we are two, we once were three. 
Now we are two, we once were three, 
(Solo.) 

"Gay sailors three we were of Lee, 
"Yo ho, ho — a hoy — ho — ahoy 
"Yo ho, ho — a hoy? — YOho — a-hoy, 
"WE EARNED A SHILLING every day, 
"WE EARNED A SHILLING every day, 

(Solo.) 

Our wine was good and we were ga}^ — 
Chorus — Yo ho, etc. 

"The north-wind soon began to wail 

"The north-wind soon began to wail 



(Solo.) 
Yo ho etc. 

(Solo.) 

(Solo.) 



(Solo.) 



Go up and reef the topmost sail! 

The captain whistled long and shrill. 
The captain whistled long and shrill. 

Those ropes you must pull tighter still, 
Yo-ho 

The ladder broke when up went he 

The ladder broke when up went he 

The sailor fell into the sea — 

Yo-ho 

They found his hat, they found his knife 

They found his hat, they found his knife, 

But he, poor sailor, lost his life, 

Yo-ho etc. — 

And high the waves forever roll 

And high the waves forever roll 



May God have Mercy on liis soul! 
Yo-ho, etc. 



*Music in Sixty Folk-songs of France— Tiersot. 
*Sixty Folk-songs of France. 

19 



Father Vivier goes over and talks to the voyageurs — Mme. Le 
Comte claps her hands and two slaves come up to voyaguers carry- 
ing a basket of fruit, to which the voyageurs help themselves. 

Madame chooses larger girls for next song; they form in a circle 
for 

THE RONDE OF THE OATS. 

Mme. sits at back of stage; 
Girls singing — ■ 
"Who wants to know — who wants to hear 
"Just how our oats we're sowing, 
"Who wants etc. — 
"My father always sowed them so, 

(Action.) 
"Then rested he a little while, 

(Arms folded.) 
"He stamped his foot (action), he clapped his hands (action) 
"And went the round of all his lands — " 

(Turning around in a circle, all with joined hands.) 
" 'Tis oats and fair good weather (Grand right and left) 
That always come together 
Who wants to know etc.. 
Just how our oats we're reaping 
"My father always etc. — 
"Who wants etc. oats we're binding 
4 Who wants etc. oats we're piling 
5 — Just how our oats we're threshing etc." 

As the girls seat themselves at end of song, enter three Coureurs 
de bois. Enter Jean first — he halloes. 

Answer by Pierre outside, who appears at door. 
Pierre in turn stands at the door and halloes. 

Jules answers and enters ; they carry game and skins of animals. 
Villagers crowd around them and they give away their trophies. 
Jules sits on table at one side of fiddler — Pierre on the other 
side — Jean stands leaning against the table. 
Fiddler strikes up "Malbrook"* 
Jean sings first verse — 

"Malbrook to war is going, 
Mir-ron ton-ton-ton — 
Mir-ron tai-ne 
Malbrook to war is going. 
Nor knows when he'll return 
(Pierre and Jules) Nor knows etc. 
Jean and Pierre sing second verse; 

But he'll return at Easter 
Mir etc.. 

But "he'll "return" at Easter or else at Trinity 
Jean, Pierre and Jules sing third verse — 

"Now Trinity is over Miron — etc. 
Now Trinity is over Miron — etc. 
Malbrook does not return — 
Mme. Le Comte sings solo as she advances toward the group; she 
stands on a chair beside the three men — 

"In to her tower lofty — 
Madame has mounted high. 
(Father Vivier takes off his long cloak during next verse and puts 
it on M. Le Comte. Father Vivier sings fifth verse.) 

"- She sees her page approaching 

(All join in) Mir-ron — etc. 
She sees her page approaching, 
In sable habit clad." 



*Sixtv folk-songs of France. 

20 



(M. Le Comte now approaclics M. Lc Conitc.) 
Mme. Le Comte solo : 

My faithful page pray tell nie etc. 
(Chorus — Mir-rou etc., 
Repeat : 

What tidings you do bring?" 
M. Le Comte — [solo or spoken]. 

"The sorry news I bring you, etc., 
"Will make your bright eyes weep. 
M. Le Comte — 

"Now don your robes of sable, etc., 
"With shoes of black be shod — 
The three soldiers advance to the table and sing. 
"Malbrook was slain in battle, etc., 
"And he's now in his grave. 
M. Le Comte, the three soldiers and Riverin who now come for- 
ward sing — 

"I saw his body buried, etc., etc. 
"By four brave officers — 
During the rest of the song the three soldiers and Riverin march 
around the table, the first soldier carrying his hat, the second also 
carrying his hat as if bearing a shield, and the third carries his 
sword. Riverin follows carrying nothing, but with his head held 
high. They go round and round, singing. 
Solo by first soldier — 

"One bore his breast-plate sadly, etc.. 
Another bore his shield. 
Solo by second soldier — 

"His sword the third one carried, etc. — 
"Riverin solo 

"The fourth no burden bore 
Three soldiers sing. 

"And all around his tomb-stone, etc., 
They planted rosemary. 
Riverin and soldiers 

"Up in a tall trees' branches, etc. — 
"A nightingale did sing. 
All sing, 

"When these sad rites were ended, etc., 
"We all went home to bed." 
The company retire to their places, and the twelve San Domingo 
slaves step forward for 

San Domingo Song and Dance. 
MOUCHE MAZIREAU. *(Creole-French— (Sung to lively air in 6-8 
time.) 

Mouche Ma-zi-reau, 
Dan son vie bireau, 
Li semble cra-peau 
Dans niou bay do lo 
Danse, Calinda, dim, sin. 
Bourn, boum, danse Calinda, 
Dim, sin, boum, boum. 
Fiddler strikes up La Boulangere (see Historic Dances — Mari Hofer"). 
Slaves put chairs, benches, etc., out of the way and entire com- 
pany rise and come forward for Old French Folk Dance — children in 
one circle, Indians in another, all the villagers in another. M. and 

*Creole songs compiled by Clara Gottschalk Peterson. 
*(From Creole songs arranged by Clara Gottschalk Peterson). 
^"Christmas Carol" p. 408 Laurel Song Book may be introduced 
here — by entire assembly. 

21 



Mmc. Le Comte are the first couple in llie circle. Priest stands he- 
hind table, smiling as the people dance. 

At the first eight bars form two circles, gentlemen in one circle 
facing inward, and ladies in other facing outward, singing these 
words, meanwhile circling in opposite directions (Eight bars). 

LA BOULANGERE— (The Baker's Wife). 
"The baker's wife she has some pennies, 
"But she's not content with life, 
"She has some pennies, I have seen them, 
"For I have seen the baker's wife. 
. (Girl's only.) 

"The baker's wife she has some pennies, 
"Yes, I have seen the baker's wife. 

II figure — M. Le Comte gives right hand to M. Le Comte, who 
gives right hand also, he turns her once round and leaves her, taking 
with his left hand the hand of the lady next in rotation — then back 
to Mme. Le C, giving her his right hand, then left to the lady next in 
rotation, etc., alternating each time with Mme. Suddenly the priest 
comes forward holding up his hand for silence. Each person passes 
the word along with "sh" and finger to lips. 

A pause, as every one stands motionless in an attitude of listen- 
ing. 

A clock is heard striking slowly the hour of twelve — . 

All clap hands at the last stroke, and shake each other's hands, 
going quickly from one to another, as if greeting with the words 
"Happy New Year". 

Priest stands in front center after greetings have been ex- 
changed, holding up his hand again for silence. 

Indians form in a line front center to sing Indian Hj'mn.* 
*Indian call and Invocation, words by John B. Tabb, "Indian Games," 

etc., Alice T. Fletcher — C. C. Birchard & Co., Boston. 

Rest of company stand in quiet group, listening to the song. 
Curtain as song is finished. 

Enter History in front of curtain. 

History — 

What strange scenes of war and peace some of these old-time 
trails have witnessed in the speechless years gone by. All alike are 
historic and mysterious. About them cluster picturesque memories, 
legends innumerable, tragedies unspeakable.* 
*Pages 117-118— Historic Illinois. 

Curtain ascends on Tableau to the sound of Indian drum-beat — 
ominous and mysterious in distance. 

Same grouping as before, but Indians have left centre of stage, 
and are grouped toward back. Enter at door Adventure with knotted 
red handkerchief on his head and a dark cloak about him.. Music of 
Pirates' Song (softly). Enter Conquest muffled in a big cloak. Music 
of Calf of Gold (softly). 

Behind Adventure come two fierce-looking Peddlers with their 
packs (two boys from episode three, now heavily bearded) and behind 
Conquest two Miners (two boys from episode three, also heavily 
bearded). 

As they come in they pause — then walk to centre, glancing over 
the assembled company. 

Adventure engages the first soldier in a duel with swords. 

Conquest and Riverin have a struggle with knives. 

The priest holds up his hand for peace and thrusts himself in 
front of the combatants; the four men in the train of Conquest and 
Adventure seize him and bear him to the rear, and then run forward — 
two peddlers and two soldiers fighting with swords. 

Two miners and Jean and Rene fighting with woods-men's knives. 

22 



Women and cliildren rush out of door in panic. Tlu- duellists 
exeunt through right and left exits fighting. 

Now, Father Vivier comes forward — the only one left on the 
stage— with the smallest child clinging to his hand. The voice of 
Ideality is heard is distance. 

Ideality comes to the door, singing his song — and pauses a moment 
— then goes off, still singing. 

Curtain as priest turns, looking off in direction of singing — child 
still clinging to his hand. 

SONG OF IDEALITY. 

(The Brotherhood of Alan) Junior Laurel Song Book. 
And onward we march with a song 
Bidding nations and brothers to band. 
Till breaketh the morn, of a world newh- born. 
All in friendship together we stand. 
Let all unite in Freedom's name. 
The glorious word of truth proclaim— 
Truth proclaim, till the shadows of night 
Disappear in the light from above. 
A kingdom shall rise with its crest in the skies 
Called the Kingdom of Brotherly Love. 
(End of Fourth Episode.) 

THE FIFTH EPISODE. 

Enter History (An American Flag across her bosom). 

History — *"Much of romantic interest clusters about the memory 
of this old-time track across the wilderness. Here passed fair maids 
and merry matrons of France, not a few in the ruffled petticoat and 
high-heeled shoes of fashion; beside them gallant soldiers rode with 
bow and smile, their lace-trimmed uniforms gorgeous in the sunshine. 
Courtiers of the French court, friends of the great Louis, travelled 
these sombre miles of wilderness. Troops, travel-stained and weary, 
marched it on their way to battle against the English out-posts; wild 
raiding parties swept over it through the dense night-shadows, and 
many a despatch-bearer, lying low on his horse's neck speeded day 
and night with his precious message."* 

(Orchestra plays Yankee Doodle softly.) 

"The trail of George Rogers Clark, made in 1778 from near the 
site of Fort Massac in the Illinois Country, marks an epoch in 
American history of transcendent importance. Nothing ever occurring 
in the West has resulted in greater permanent benefit to the people 
of the United States. "f 

tl23— Idem. 

Curtain rises on 

Scene : A stockade in front of drop-scene of primitive "hall" 
through which lights can be seen. Stage is partially dark. 

CHARACTERS. 

George Rogers Clark 

Lieut. Col. John Montgomery 
— American officers. 

Fifteen frontiersmen — one of these should be the leader desig- 
nated in the scene as Simon Kenton. 

Captain Rocheblave— British officer. 

An Indian — . 

Father Pierre Gibault. 

Time— lulv 4th. 1778. 



*Page 122 Historic Illinois 
*Pages 122-123— Historic Illinois. 

23 



Enter Clark carrying an American flag; Clark speaks in snl)dued 
voice : 

Clark — See her float ! The first time an American flag has ever 
floated in the country of the Illinois ! 

Men start to cheer — 

Clark (putting up his hand for silence) — Hush ! Listen, men ! It 
is now or never! We will save the Northwest Territory! Courage! 
We must make believe we are a large army! 

Music and laughter from behind drop where the lights of the hall 
gleam. 

Clark hands flag to Kenton. 

Montgomery reconnoitres, and joining Clark, salutes. 

Montgomery — Colonel! There seems to be a great ball going on^ 
and from all I can judge, every one, Indian and white, is dancing in 
that hall! 

The fifteen men stand in a group and murmur. 

Men — But, look here! When do we get our money? 

Clark overhears the men talking together, and turning quickly, 
says : 

Men, I told you that Governor Patrick Henry, whom I saw in 
Williamsburg a few weeks ago, said he would give his life if he could 
get me the money! Virginia has not even men enough to fight along 
the Atlantic coast, so if ye are men — can't ye be patient until the 
three months are up? With the promise of the fortune of three 
hundred acres each, if we drive out the red-coats, ye will all be rich 
men after the war! 

Murmurs from the men — We want our money! 

Clark — Men, this is a strong fort! I need every one of you. The 
savages are aiding the enemy. We are but a handful, and with no 
cannon. But today I received good news that will lighten your hearts. 
We are no longer fighting alone — without allies — today I have re- 
ceived word that the king of France has recently joined forces with 
the United States! 

Men give a suppressed cheer — 

The call of the Virginia Reel can be heard above the music of a 
fiddle from the hall. 

Voice inside — En avant ! (pause.) 

AUemande gauche ! Droigt ! (pause.) 

Chassez! Dos-si dos ! 

Clark — (After they have listened to the voice and music within) 
Lieutenant Montgomery, you will steal around in back here and capture 
the village! Kenton and I will remain here to storm the fort! See, even 
the sentinels have deserted their posts and joined the dance! 

Montgomery — Aye, aye. Colonel ! (He gives signal for men to get 
into formation for marching.) 

Clark — (Addressing his army) Soldiers! We are near the enemy 
for which we have been seeking! This fort is one that we must 
enter! We cannot retreat! We must capture it! We have no 
provisions, but we must conquer! This is the fourth of July — we must 
act to honor it! The fort and the town must be taken at all hazards! 

Montgomery (going down the line, speaking to his men) — Whei? 
we get to the village, you must all start up to yell, as you have never 
yelled before, as if it came from an army of hundreds of savage 
Yankee devils! — Read}'! — March! — (Exit Montgomery and his fifteen 
men at left). 

(Note — These may be the boys who played hunters, miners, ped- 
dlers in Episode Three — practically same costume, except for fur caps.) 

Clark — Kenton! You wait at the stockade gate! I will cross the 
parade to the hall — (stumbles on an Indian lying wrapped in a 
blanket). 

What's this? 

Indian rises — starts off with war-whoop and runs into stockade 
towards the hall. In the distance all sorts of terrific veils and cries 

24 ■ 



from Montgomery's men, which gradually increase, growing nearer. 
Captain Rocheblave runs from back from inside of stockage, as if he 
just hastily left the hall at back. 

Clark (points his gun at Rocheblave, and enters through stockade 
gateway) — Go on with the dance ! But remember that you are holding 
revelry under the banner of Virginia, and not that of Great Britain! 

Kenton stands, handing flag to Clark, who unfurls the American 
flag of thirteen stars and stripes. — Noise increases from Montgomery's 
men. 

Rocheblave looks around frightened. 

Enter Montgomery and five men (left). 

Montgomery — Colonel Clark, I have the honor to report that we 
have surrounded and captured the village! 

Rocheblave (looking at Montgomery and tlien at his five men) — 
What! What's this? Am I surrendering to a beggarly handful of 
backwoods men? Zounds! I'll not — 

Clark steps up — puts R's hands in handcuffs, assisted by Kenton. 
R. murmurs in indignation, but is placed as a prisoner in the ranks. 

Enter Father Gibault in riding-boots and spurs — three-cornered 
hat, a big" black cape sprinkled with dust; he dusts his coat as he 
enters hastily. 

Father G. — Where is Colonel Clark? 

Clark — Here! (steps forward). 

Father G. — I am Father Gibault of the Illinois country missions, 
Colonel, I have just ridden to report to you that the American flag 
has been hoisted at Vincennes; this gives the ke}' of the entire North- 
west Territory to the United States ! 

Men cheer — people come out from the dance and form groups 
staring at the flag — some point to the captured Rocheblave. The flag 
is run up on the stockade by Montgomery. 

Father Gibault — Most of these are my people. Colonel Clark. 
(Turns to the people) — My children, I will be ready to administer the 
oath of allegiance to you all as loyal Americans of these United 
States at the church door on next Sunday morning! 

People cheer as the flag floats over the stockade. 

Enter five more of Kenton's men (left). 

Exit men whistling Yankee Doodle, Clark at the Iiead — Roche- 
blave as a prisoner between two of the men. 

(Curtain.) 

History (of Episode Five) enters. 

The sword of George Rogers Clark struck the blow that made 
Illinois a territory of the United States, and Virginia, whose governor, 
Patrick Henry, had authorized the expedition, extended jurisdiction 
over the County of Illinois — a part of the vast northwest territory. 
By the provision of the famous ordinance of 1787, it was provided 
that "Neither slavery nor involuntary servitude should exist in the 
territory." By the act of Congress, 1800, the Northwest Territory 
was divided and called the Indiana Territory, comprising the present 
states of Indiana and Illinois, with seat of government at Vincennes. 
In 1809 the territory of Illinois was formed with the seat of govern- 
ment at Kaskaskia. On April 18, 1818, an act was passed by Congress 
to the effect that "The inhabitants of the territory of Illinois, be, 
and are hereby authorized to form for themselves a Constitution and 
State government and to assume such name as they shall decide 
proper, and the said state when formed shall be admitted into the 
Union upon the same footing as the original states in all respects 
whatever." Nov. 23, 1818, when the bill came up for debate an 
ominous controversy arose on the question of slavery — significant of 
the national feeling which was to arise over this issue during the next 
forty years. President Monroe approved the resolution to make Illi- 
nois a state Dec. 3, 1818. 

Children's chorus sing Yankee Doodle in front of curtain, dressed 
in costumes worn in Episode IV, and sing as many verses as are 
reciuired while stage is set for "1818 scene." 

25 



EPISODE VI. 
"1818." 

Scene: The prairie at Fort Dearborn; Sunset. 
Cast of Characters for "1818." 

A soldier from Fort Dearborn — 

Michael Welsh — the bugler of Ft. Dearborn. 

The settler from Kentucky. 

His wife. 

Their little girl. 

"Bill" — the mail carrier. 

Black mamni}'. 

Little Rastus. 

A prairie scene with drop "Fort Dearborn." 

Bugle sounds "Retreat" in distance, as if from inside of fort. 

Then firing of sunset gun. 

At lower left the rear end of a "prairie schooner" juts from the 
wings. The curtain of wagon is raised to reveal a woman sitting on 
a wooden chair sewing — a little girl playing with a rag-doll at her 
feet. Enter settler from Kentucky from left — he is supposed to have 
just descended from driver's seat (hidden in wings). 

Enter Soldier (right) — How do? 

Settler — How do? 

Soldier — Goin' to locate here? 

Settler — I'm thinkin' about it some. What's the name of this 
place? That Lake Michigan yonder? 

Soldier — No, sir; that's the mouth of the river — the Chicago — this 
here's Fort Dearborn. 

Settler — Many settlers? 

Soldier — Well, that cabin over there, — see? — belongs to John Kinzie 
■ — and along on the margin of the river — along there as fur as ye can 
see — that's the home of Antoine Ouillmette — that's all, living outside the 
stockade here. 

Settler — Injuns bad? 

Soldier — Yes, some^but I reckon they won't make*very many more 
raids like that one six years ago. You heard tell of it? I'm a survivor 
of that massacre. 

Settler looks about him apprehensively and shudders. 

Soldier — Oh ! That won't happen again ! Black Hawk ain't so blood- 
thirsty as he used to be! (Looking at wagon) — I see you have some 
women folks in there — my wife will be glad to welcome your wife and 
little girl. We will be glad to look after you folks till you get located. 
It gets mighty cold on the prairies these nights! Why! Here comes 
the mail. First time in four weeks ! Looks as if Bill had some big news 
too! Riding fit to kill himself! 

Settler goes to wagon and helps out lady and little girl. 

Settler (as he goes to wagon) — -Reckon he's bringing the news about 
this here territory gettin' to be a state. That's all we heard talked about 
as we came along. We came up here from St. Louis into this Illinois 
country some time back, and every time we passed a turn-pike in the 
Illinois country we was asked if we 'lowed we were to be citizens of this 
state — said we expected to be, and we was counted! 

Soldier — That's because some gentleman from New York State inter- 
rupted Mr. Anderson of Kentucky, when he applied to Congress this 
fall for our admission, and said we did not have enough inhabitants 
required by law to make us a state. Hallo! Here's Bill! 

Enter Bill the mail-man — covered with dust from riding — carries 
old-fashioned mail-bags. Rushes up to soldier and shakes him by the 
hand. Enter Welsh, his bugle in his hand — rushes to Bill and they also 
shake hands. At his entrance Mammy and Rastus poke their heads out 
from canopy over wagon, wondering what the commotion is all about. 

Bill (taking out newspaper and reading it) — Here you are! Just 
listen to this ! From the "Illinois Intelligencer," Kaskaskia, Illinois, Dec, 

26 



10, 1818 — "Wednesday, Dec. 3rd, at tlie fifteenth Congress at Wash- 
ington — 

Rastus clind)s out of wagon — 

Mammy — Rastus! Yo' stay with yo' mammy! (She climbs out of 
wagon, grabs him by the hand, and is climbing into the wagon when Bill 
looks up — 

Bill — Those belong to you, stranger? 

Settler — Yes, sur ! They are my property! 

Soldier — Did they count 'em too, at the turn-pike? 

Settler — They certainly did! 

Bill — Look here, stranger (he drops his paper and puts hands on his 
hips) — Maybe you don't know that Congress has run a law up here in 
this part of the kentry "wherein there shall be neither slavery nor 
servitude in any of these said states — " 

Soldier — Bill, if they are a man's property, they are his property, 
and no more need be said about it. 

Little Girl — Daddy! That man dropped his paper! (She picks up 
the newspaper and hands it to settler) Read dis ! In de big letters! 

Settler's Wife — Why, honey! That don't concern you, child! 

Bill — Reckon it does! It concerns everybody! 

Settler (reading from the paper) — 

Resolved bj' the Senate and House of Representatives of the United 
States of America in Congress assembled. That, whereas, in pursuance 
of an act of Congress, passed on the eighteenth day of April, one 
thousand eight hundred and eighteen, entitled "An act to enable the 
people of the Illinois Territory to form a constitution and State govern- 
ment, and for the admission of such State into the Union, on an equal 
footing with the original states," the people of said Territory did, on 
the twenty-sixth day of August, in the present year, by a convention 
called for that purpose, form for themselves a constitution and State 
government, which constitution and State government, so formed, is 
republican, and in conformity to the principles of the articles of compact 
between the original States and the people and States in the territory 
northwest of the river Ohio, passed on the thirteenth day of July, one 
thousand eight hundred and eighty-seven. Resolved by the Senate and 
House of Representatives of the United States of America in Congress 
assembled. That the State of Illinois shall be one, and is hereby declared 
to be one, of the United States of America, and admitted into the Union 
on an equal footing with the original states, in all respects whatever." 

Bill— Three cheers for Illinois! Hip! Hip! Hurrah! (they all cheer) 
and Bill winds up with an Indian yell. 

Soldier— Sound the bugle, Welch ! (Welch plays "Mess"— every one 
cheers as curtain descends. 

(Curtain.) 

VOICES BEHIND SCENES SING ILLINOIS! 

Silence for Tableau I. 

Tableau I after 1818. 

At right — 

Ideality stands behind Settler woman who sits on chair winding 
yarn — settler holds the skein— little girl playing with doll at woman's 
feet. 

At center — 

Soldier is threatening Mammy with a whip— she clasps Rastus to her 
knees. Behind this group stands Conquest, his head thrown back— his 
hand on Soldier's arm, urging him on. 

At left- 
Bill looks back over his shouMer at this group— Adventure has his 
hands on Bill's shoulders, standing behind him urging him forward as 
he points off left. 

Tableau II— EPISODE VL 

Orchestra plays "Illinois." 

27 



The boy who played "Illinois" in Prelude is in center of dark stage 
when curtain rises. Same pose as Prelude — Episode I. The spot-light 
plays on him. After a minute's pose, dark stage, and in his place stands 
a girl in white, flowing robes, yellow ears of corn clasped to her breast, 
a gleaming star on her head. Bright stage for this pose — at the back of 
stage is seen an enormous flag — a large blue canvas with 20 bright stars 
ranged across it. Two drapes on each side of red and white stripes.* 



"'Centennial flag may be used for this, but the American flag gaining 
the additional star is the idea for the picture. 

Voices behind the scenes hum "Illinois." The girl slowly walks to 
the back — lifts the red and white draper\' at left and disappears. In a 
second a new star gleams underneath the line of 20 stars and the chorus 
behind scenes bursts into the "Star Spangled Banner." 
(End of Part II of Pageant.) 

INTERMISSION. 

EPISODE vn. 

Songs behind scenes. 

Darkey Jubilee Song and chorus of Tramp, Tramp the Boys Are 
Marching. 

Enter History of Civil War. 

History — Abraham Lincoln, "a type that nations will so plan but 
once in all a people's years," following a narrow trail in the back-woods 
of Illinois found the road that led him to the White House. Here the 
son of Illinois guarded the nation's destiny, in his honest, hoary hand, 
bringing her through the crisis that established her as one of the fore- 
most nations of the earth — a nation re-born! — re-generated — a nation 
crowned triumphant — land of the free and the home of the brave! 

Chorus behind sings — "Columbia, the Gem of the Ocean." 

Enter Proclam.ation (after song). 
When a deed in done for freedom, thro' the broad earth's aching breast 
Runs a thrill of joy prophetic, trembling on from east to west. 
And the slave where'er he cowers, feels the soul within him climb 
To the awful verge of manhood, as the energy sublime 
Of a century bursts full-blossomed on the thorny stem of time. 

For mankind are one in spirit, and an instinct bears along 
Round the earth's electric circle the swift flush of right or wrong. 
Whether conscious or unconscious, yet Humanity's vast form 
Through its ocean-sundered fibers feels the gush of joy or shame; 
In the gain or loss of one race, all the rest have equal claim. 

Once to every man and nation comes the moment to decide 

In the strife of Truth with Falsehood for the good or evil side, — (pause) 

Count me o'er earth's choicest heroes, 
They were souls that stood alone. 
While the men they agonized for. 
Hurled the contumelious stone ; 

Stood serene and down the future saw the golden beam incline 
To the side of perfect justice, mastered by their faith divine 
By one man's plain truth to manhood and to God's supreme design !* 
(Exit Proclamation.) 
Curtain rises on groups of people dressed in costume of 1860. The 
back drop represents the lighted "Wigwam", as the convention hall 
was called in Chicago. 
Enter Mrs. Brown. 

Mrs. Smith, who speaks with a southern accent. 
Mrs. Jones. 



*James Russell Lowell. 

28 



Each carries a camp-stool. They open stools and sit at lower left. 

Mrs. Brown (seating herself, and fanning herself with her hand- 
kerchief) — My dears, I am so excited! 

Mrs. Jones (taking a bottle of smelling-salts from hag she carries 
on her wrist) — Oh, la! Such a crowd! I feel faint already! Mr. Jones 
says Mr. Lincoln never will be nominated! 

Mrs. Brown — If he isn't our next president Mr. Brown says he don't 
know what our country will come to! Mr. Lincoln stands for all the 
principles of a true Republic — Humanity, Freedom and Equality! 

Mrs. Jones (bitterly) — Yes; Mr. Lincoln thinks that all men were 
created free and equal! Such nonsense! Oh, listen! 

Band inside Wigwam plays "See, the Conquering Hero Comes"! 

Small boy walking up and down peddling papers — Extra piper! 
Extra piper! All about the Presidential Convention! 

Mrs. Smith (buying a paper) — Heah, boy! 

Mrs. Jones (looking over her shoulder) — Oh, do you suppose they 
know yet? 

Inside Wigwam a voice yells "Seward"! A mild applause inside fol- 
lows this cry. 

Band inside strikes up "See, the Conquering," etc., again. 

Silence. 

Mob on stage walks up and down. Newsboy going from group to 
group — Piper ! Piper ! Extra piper ! 

Several voices inside cry: "Abraham Lincoln! Abraham Lincoln!" 

A pause. 

Then a deafening roar of voices cheering. 

A loud voice can be heard after the cheering subsides : 

"Abe Lincoln has it !" 

Mrs. Jones — Where are my salts? 

Mrs. Smith — Oh, Ah'm goin' to faint ! Please bring me straight 
home, somebody! (Crying.) Oh, my poor papa! The negro will be 
free and we will lose our slaves and be ruined! 

Mrs. Jones (standing up indignantly) — If Abraham Lincoln should 
be elected there'll be war! (Taking up her stool.) Oh! this convention 
is no good anyhow! They won't let any one in the convention hall Init 
the men! Let's go home I'm disgusted! 

Mrs. Smith — And I'm faint! (Fans herself with handkerchief.) 

Mrs. Brown — But I'm tickled to death ! I wish I could find George 
Brown in this crowd — I'd hug him on the spot! Good-by, Mrs. Smith 
and Mrs. Jones, I'm to wait here for Mister Brown ! Hope you get 
home safe ! (Exeunt Mrs. Smith and Mrs. Jones, flouncing out with 
campstools under their arms.) 

Voice from the crowd on the stage — Hallelujali ! Abe Lincoln is 
nominated ! 

Crowd cheers. Band inside repeats, "See, tlie conquering," etc., and 
curtain descends. People on stage still cheer, men waving their hats, 
ladies waving their handkerchiefs, all facing toward left, toward en- 
trance of Wigwam. 

Enter History in front of curtain. 

History : 

"So he went forth to battle on the side 
That he felt clear was Liberty's and Right's 
As in his peasant boyhood he had plied 
His war-fare with rude nature's threatening mights; 
The uncleared forest, the unbroken soil. 
The rapid that o'erbears the boat-man's toil. 
The prairie hiding the mazed wanderer's tracks. 
The ambushed Indian and the prowling bear, 
Such were the deeds that helped his youth to train. 
Rough culture, but such trees large fruit may bear. 
If but their stock be of right girth and grain. 
29 



So he grew up, a destined work to do, 

And lived to do it, four long suffering years. 

Ill-fate, ill-feeling, ill-report lived thro'. 

And then he heard the hisses changed to cheers. 

The taunts to tribute, the abuse to praise. 

And took both with the same imwavering mood.* 
Enter Proclamation : 
Proclamation — 

So always firmly he — ; 

He knew to bide his time. 

And can his fame abide. 

Still patient, in his simple faith sublime, 

Till the wise years decide. 

Great captains with their guns and drums. 

Disturb our judgment for the hour, 

But at last silence comes. 

These all are gone, and standing like a tower, 

Our children shall behold his fame. 

The kindly, earnest, brave, foreseeing man. 

Sagacious, patient, dreading praise, not blame, 

New birth of our new soil, the first American.* 
Proclamation walks across stage at left entrance, turns and blows 
a blast on his trumpet. 

Chorus sings "America".* 

EIGHTH EPISODE 

Proclamation enters in front of curtain, blows three blasts and cur- 
tain rises on 

Illinois Welcoming the Nations of the World. 

Proclamation — Illinois welcomes the nations of the world, in the 
nation's era of Peace and Prosperity, at the World's Columbian Exposi- 
tion. Commemorating the eventful voyage of Columbus linking the 
two continents — the Old World and the New — inaugurating the first 
pathway to the Undiscovered Land — the Land of Hope and Desire, the 
pathway which is bringing the homage of the nations to Illinois in the 
city of Chicago, the Year of Our Lord, 1903. 

Curtain rises as Proclamation starts speaking, revealing the Tab- 
leau : 

Illinois (same girl as before), with ears of corn at her feet, arms 
outstretched in welcome. She is raised on a small pedestal. Around her 
are grouped the Nations. Back of her dark curtains in soft folds. 

Nations of the World offering homage to Illinois (1903) World's 
Columbian Exposition. These may be the girls and boys from Episode 
IV, with white gowns over other costumes, and white caps covering 
their hair, so as to look like statues, but may wear characteristic head- 
dresses. 

They hold up gifts for Illinois : 

1 — France holds up a piece of red silk draped over her two arms. 

2 — Italy a piece of white statuary. 

3 — China, blue Chinese vase, etc., working in colors, red, white and 
blue. 

(Hold tableau for one minute.) 

The curtains are drawn at back, revealing a high platform with the 
following group : Adventure and Conquest on the ground in a deadly 
combat; Ideality, who has been crouched behind this group, slowly rises 



*"Abraham Lincoln," bv Tom Tavlor in the London Punch, April, 
1865. 

*Janies Russell Lowell in Harvard Commemoration Ode, July 21, 
1865. 

*Page 316, Junior Laurel Song Book. 

30 



and stands in a pose, one foot on the prostrate form of Adventure, and 
with his sword puts down Conquest; with his left hand he raises his 
banner. 

(Tableau — Curtain.) 

NINTH EPISODE 

History, in front of curtain — 

"If the sainted Jesuit missionary, Father Marquette, during his en- 
forced stay on a bed of sickness in a log cabin at the mouth of the 
estuary now known as the Chicago River, had a vision of the triumphant 
pageant of the Chicago lie loved so dearly and served so faithfullj-, that 
took place on that very site two centuries after, his anxieties and pains 
must have been assuaged, and heavenly joy filled his soul."* 

History — The narrow Indian trail in the heart of the Illinois woods 
trod by Marquette and Joliet, the first of their race, has opened the 
pathway to a New Vision. 

Curtain rises on the following grouping for Illinois Achievement : 
The Crowning of 100 Glorious Years as a State. 

Illinois mounted on a pedestal at center back; she is standing with 
her weight on her right foot, her left a little in advance, her right hand 
holding the hilt of an unsheathed sword, the left resting on a shield 
bearing a single star, and grasping a crown of bay-leaves at the top 
of the shield. A blue mantle-edged with gold fringe fastened under 
the left shoulder, is brought around, pulled low at right hip, and brought 
over left shoulder, falling in soft folds over left side of body and arm. 
Head is raised, facing a little towards left, looking directly forward, a 
look of vision in the eyes — she has removed her circlet of a single star, 
her yellow hair is flowing. 

At the base of the pedestal and standing against it are sheaves of 
wheat, corn, etc., signifying Illinois Agriculture. 

At the back a long curtain of dark soft drapery is hung, to enhance 
and make effective the Tableaux Vivants. 

At the right back on a bias line the grouping of Education, Progress, 
Produce, and Chicago. 

(Note — In place of Chicago, any other city of Illinois may be substi- 
tuted, according to the place in which the pageant is presented.) 

A suggestion for the posing of this group would be a study of 
Lorado Taft's statuary group Fountain of the Great Lakes, outside the 
Art Institute, Chicago. 

(Post-card copies may be hand from the Art Institute at the cost 
of one cent each.) 

The figures of this group are clad in white Grecian robes, with man- 
tles; Progress, the topmost figure, stands on a very high pedestal, arms 
upraised over left shoulder, holding a wheel, "the wheel of progress"; 
she inclines her head down towards, and looks towards Commerce, the 
first of the group on the next step, a platform, fully three feet lower 
than the elevation on which Progress stands. 

Commerce is inclining toward Chicago, who forms the center of 
this group; she is holding a fur pelt as if offering it for sale. 

Chicago, center figure, is standing with her shield held with two 
hands to her bosom and looking out. Produce is bending over a sheaf 
of wheat and grasping it with her two hands. She is looking from her 
bent position up at Commerce. At the left knee of Commerce, leaning 
against her. Education is seated. She is leaning forward, one arm out- 
stretched, her right hand in revealing attitude. Her left hand rests 
caressingly on a large volume at the feet of Chicago. 

History I. half kneeling, half sitting at the base of the pedestal, 
holds her scroll in two hands, her chin resting on it, in meditative mood. 

*From "The Catholic Church in Chicago," Rev. James J. McGovern, 

D. D. 

31 



On the opposite side, facing this group, stands Religion, on a little 
platform^a large white cross held in one arm and resting on the plat- 
form — her face looking up with Faith; with her other hand she points 
to Heaven. 

Grouped around her a large group of children — A l)anncr of the 
Immaculate Conception in their midst. 

History H sits in a crouched position a little to the center and for- 
ward from this group — she holds up a scroll in her left hand, as if for 
everyone to read. 

At middle of left of stage towards center, Patriotism is on a small 
platform with two steps. She wears a white gown, a large American 
flag draped around her, on her head a coronet, with spikes, like rays en- 
circling it. In her right hand she holds a flaming torch, in her left a 
sword upraised and pressed across her bosom — she has an exalted look. 
Sitting on lowest step facing audience, is History III. with a quill pen 
poised in her hand, a scroll in her lap. 

Humanity, in soiled, flowing gown, a tattered mantle falling from 
her shoulders, kneeling on top step, her head resting on her arm, which 
leans on pedestal at feet of Patriotism. Humanity's other arm is held 
around a small child in Grecian tunic, who clings to her. 

At extreme right of steps stands a group of soldiers of the Revolu- 
tion — "The Spirit of 1776". Clark, a small boy and Riverin compose the 
group — Riverin is the old man with handkerchief around his head, with 
the flute, Clark the man in center with flag, and boy who was drum- 
mer in Indian scenes is the boy with the drum. History IV kneels a 
little in front of this group, in act of reading on scroll. 

At extreme left of steps two soldiers of the Civil War* — a Veteran 
in G. A. R. suit, and a young Civil War soldier resting on his gun. His- 
tory V, a little forward of these groups in front of G. A. R. Veteran, 
kneeling and also recording deeds of Civil War on her scroll with pen. 

In center, left, between groups of 1776 and Civil War groups, at 
front of stage, a sailor, standing, with arms folded, head up, looking out, 
a soldier in khaki at "attention". History VI, a little behind sailor, 
kneeling on one knee, looking up at him with quill poised in air, scroll 
on bent knee. 

History VII sits, crouched at soldier's left, a little in front, left hand 
under chin, meditatively, scroll opened out on floor beside her, right 
hand resting on it. 

After a short, silent pose, about 40 seconds, enter Proclamation. 
He blows trumpet. The group changes now and assumes easy positions. 
Drummer in '76 group drums a tattoo. Enter History VII. 

History VII— 

*Chicago ! Illinois, fondest boast, we summon thee to bear a 
gift, from all the children of her soil. 

To crown her Jubilee. 

Proclamation blows trumpet towards group and Chicago holds up 
her shield to audience, revealing the words, "I Will" — descends from 
group. Chicago, with her shield inverted like a tray, goes from one to 
another at the cue from History \TI. who first puts a red velvet cover 
on it. 

History — Progress ! 
Progress makes a gesture over wheel she carries, and swings out arm 
over tray Chicago holds toward her — action of throwing something on 
tray. 

Historj' — Commerce ! 

Same pantomime as described above. 

History — Produce ! 

Same pantomime as described above. 



*0r the characters of Grant and Shields may be substituted here. 
*0r the words — (name of city in which pageant is being presented), 
"one of the proud daughters of Illinois," may be substituted. 

32 



History — Education ! 

Same pantomime as described above. 

Proclamation — To the Centennial Celebration of Illinois, comes the 
spirit of Father Marquette. (Blows trumpet.) 

Enter from right Father Marquette in white cassock and white 
three-cornered hat, a gleaming rosary at his side. He enters dreamily, 
hands outstretched before him, as he walks toward Religion and kneels 
at her feet; he holds up hands with inspiration gleaming in his face, to 
banner of Immaculate Conception, around which children are grouped. 

History — Religion ! 

Chicago approaches Religion with shield — a chain of glistening 
stones falls from Religion's hand into the shield. 

History of Episode I speaks the following words like a far-away 
echo: And Marquette called his iirst mission the Immaculate Concep- 
tion ! 

Chorus — Entire assembly — Te Deum. 

After chorus. Proclamation steps down to group Patriotism. 
Proclamation blows blast. Enter History IX. She carries a wand. 

History — The heart of Illinois ever beating high with the ardor of 
patriotism, thrilling with the spirit of 1776 — 

Chicago rests shield on right hip. making gesture of pride toward 
these three, who resume their pose of the "Spirit of 1776". 

History — Whose echo is responsive in the patriot's tribute of 1860 
with the great names of Grant, ShieMs, Logan and Mulligan. — (Chicago 
repeats this gesture to 1860 group, who assume pose of tableau.) 

History — Now responds with thousands of her sons for the Armj' 
and Navy. 

Chorus — Entire assemblage — 

Battle Hymn of the Republic (Howe) 
(Sung to the old air of John Brown's Body.) 
Mine eyes have seen the glory of the coming of the Lord; 
He is tramping out the vintage where the grapes of wrath are stored; 
He hath loosed the fateful lightning of his terrible quick sword. 
His truth is marching on. 

Glory, glory, hallelujah, 
Glory, glory, hallelujah. 
Glory, glory, hallelujah. 
His truth is marching on. 

I have seen him in the watch-fires of a hundred circling camps. 
They have builded Him an altar in the evening dews and damps, 
I have read His righteous sentence by the dim and flaring lamps, 
His daj' is marching on. 

Glory, etc. 

He has sounded forth the trumpet that shall never call retreat. 
He is sifting out the hearts of men before His judgment-seat ; 
O, be swift, my soul, to answer Him, be jubilant my feet. 
Our God is marching on. 

Glory, etc. 

Proclamation blows trumpet. Enter Ideality, who sings next verse 
as solo. 

In the beauty of the lilies, Christ was born across the sea, 
With a glory in his bosom that transfigures you and me. 
As he died to make men holy, let us die to make men free, 
While God is marching on. 

Chorus — Entire assembl}- — Glorv, etc. 

33 



Idealit}- marches over to Religion and kneels there, sword carried 
upright, banner in left hand. 

During this chorus Chicago has quietly slipped behind scenes and 
put the crown for Illinois under the red velvet cloth on the shield. 

Proclamation blows trumpet. Chicago enters with shield lifted high 
over head. She kneels in center, looking toward Illinois. The assembly 
sings 

Centennial Hymn — John Greenleaf Whittier — David Stanley Smith. 
(Page 262 — Junior Laurel Song Book (Teachers' Edition)( C. E. 
Birchard & Co.) 

First and second verses only. Then while music plays third verse 
Chicago rises, takes red velvet covering from shield, and reveals the 
crown of 100 stars. History takes red cloth, and History VIII takes 
shield, as Chicago, holding crown high, advances toward Illinois. Chi- 
cago slowly ascends the little platform arranged in back of pedestal, 
and crowns Illinois with the crown of gleaming stars. Assembly now 
sing 4th verse. 

Oh, make Thou, as through centuries long 
In peace serene, in justice strong. 
Around our gift of freedom draw 
The safeguards of thy righteous law. 
And cast in some diviner mold, 
Let the new cycle shame the old. 

Then music changes to 'Tllinois", and curtain descends as the first 
verse and chorus are being sung. It is sung through while the curtain 
is down, and the company is forming for Recessional. 

The entire cast of characters who have not been in the last scene 
should be in wings with their partners, ready to enter. 

Curtain rises after last verse of "Illinois", on Recessional. 
The procession moves across stage, led by Ideality with banner, out 
into wings, or down steps leading from stage into auditorium, marching 
down one side, up center aisle, and then down last aisle and disband. 
Illinois remains on stage surrounded by the nine girls who acted as 
History of the different periods. Proclamation brings up rear of pro- 
cession — his trumpet rests on his hip. 

The procession moves as follows, singing Centennial Hymn, 1st, 2nd 
and 4th verses only, repeating 4th verse until Recessional is over: 

Ideality 

Marquette and Joliet 

Illinois (the Indian), followed by the "braves". 

Conquest and Adventure 

The three Coureurs de Bois 

Commerce 

Hunters 

Miners 

Peddlers 

Voyageurs 

Woodsmen 

Courtier and Page with king's crown on a cushion 

Louis XVI 

La Salle and Tonty 

Religion (with Cross) 

Father Ribourde 

Other Missionaries 

Le Comte and Father Vivier 

San Domingo slaves 

Madame Le Comte 

Girls from Kaskaskia scene 

Produce (carrying wheat and corn) 

Three French Soldiers 

Patriotism 

34 



The Spirit of 76 group 

Lieutenant John Montgomery and Simon Kenton 

Clark's army 

Fort Dearborn group 

Soidier and mail-carrier 

Settler, wife and little girl with doll 

Mammy and Rastus 

Mrs. Smith and Mrs. Jones 

Mrs. Brown and Newsboy 

Others of that scene who have not "doubled" in other scenes and are 

still in 1860 costume 

Civil War Soldier and Veteran 

Chicago 

Progress and Education (carrying their insignia) 

Group of children 

Patriotism 

Humanity 

Soldier and Sailor 

Proclamation 

Curtain as soon as precession has gone around entire hall and 

starts up center aisle again. 

(The End.) 



LIBRftRY OF CONGRESS 



014 751 909 6 



